The big blue

JACQUES gets undressed and sits down in the lotus
position, concentrating...

JOHANA sits down a few feet away and watches him,
wondering just how far he is going to push this whole
thing.

As the cable unrolls, JOHANA starts crying.  She
understands that JACQUES is going to dive to the bottom,
into the blue, into himself.

                         JOHANA
          Jacques, you know I love you.

JACQUES is putting on his flippers, and stands facing his
gueuse.

                         JACQUES
                  (after a silence)
          Don't be sad... It's not because of
          you, it's me.  It's all going on
          inside me!
                  (a beat)
          I've gotta go and see.

JOHANA starts pacing up and down the diving platform.

                         JOHANA
          See what?  There is nothing to see!
          It's pitch black down there!  It's
          cold.  You'll be all alone!  Look at
          me, Jacques!  I am here!  I exist!
          Look!!!
                  (she starts waving
                   her arms)
          I'm real!  I am not a dream!
          Jacques will you look at me?
                  (she breaks down)
          Please!

JACQUES has not moved, he still sits motionless, facing
his gueuse.

JOHANA doesn't know what to do or say.  She is totally
drained.

                         JOHANA
          Jacques?  I'm pregnant.

                         JACQUES
          That's good... that's wonderful.
          It's wonderful for you.

                         JOHANA
          You are the father.

Silence.  JACQUES is petrified, without any reaction.  He
doesn't understand.  She realizes it's hopeless and stares
at the sea.

                         JOHANA
                  (after a while)
          I lied... to keep you here.

She kisses him.

                         JOHANA
          Promise me one thing.

                         JACQUES
          Anything.

                         JOHANA
          Promise you won't forget me.

She pulls the line releasing the gueuse.

JACQUES takes a deep breath and grabbing hold of the
gueuse, disappears into the water -- as if swallowed by
the ocean.

good will hunting

 WILL
           At least you have a mother.

                        SKYLAR
           Fuck you! You think I want this?
           That money's a burden to me. Every
           day I wake up and I wish I could give
           that back. I'd give everything I have
           back to spend one more day with my
           father. But that's life. And I deal
           with it. So don't put that shit on
           me. You're the one that's afraid.

                        WILL
           What the fuck am I afraid of?!

                        SKYLAR
           You're afraid of me. You're afraid
           that I won't love you back. And guess
           what? I'm afraid too. But at least I
           have the balls to it give it a shot. At
           least I'm honest with you.

                        WILL
           I'm not honest?

                        SKYLAR
           What about your twelve brothers?

                        WILL
           Oh, is that what this is about? You
           want to hear that I don't really have
           any brothers? That I'm a fuckin'
           orphan? Is that what you want to hear?

                        SKYLAR
           Yes, Will. I didn't even know that?

                        WILL
           No, you don't want to hear that.

                        SKYLAR
           Yes, I do, Will.

                        WILL
           You don't want to hear that I got
           cigarettes put out on me when I was a
           little kid. That this isn't surgery

Will lifts his shirt, revealing a six inch SCAR on his torso.

                        WILL (cont'd)
           You don't want to hear that. Don't
           tell me you want to hear that shit!!

                        SKYLAR
           Yes I do. Did you ever think that
           maybe I could help you? That maybe
           that's the point, that we're a team?

                        WILL
           What, you want to come in here and
           save me? Is that what you want to do?
           Do I have a sign that says "save me"
           on my back?

                        SKYLAR
           I don't want to "save" you. I just
           want to be with you. I love you. I
           love you!

Will, full of self-loathing, raises his hand to strike her.

                        WILL
           Don't bullshit me! Don't fuckin'
           bullshit me!

                        SKYLAR
                 (standing up to him)
           You know what I want to hear? I want
           to hear that you don't love me. If
           you tell me that, then I'll leave you
           alone. I won't ask any questions and
           I won't be in your life.

A beat. Will looks Skylar dead in the eye. Lowers his hand.

                        WILL
           I don't love you.

He walks out.

badlands

The props start turning. The crowd waves goodbye as the boarding
door is closed. The wheels turn toward the sun. The Guardsmen
race back to their trucks. A mailman carries off the mail bags he
collected from the plane. The plane taxies down the runway and
lifts into the air. 

HOLLY (v.o.)
Kit and I were taken back to South Dakota. They kept him in
solitary, so he didn't have a chance to get acquainted with the
other inmates, though he was sure they'd like him, especially the
murderers. Myself, I got off with probation and a lot of nasty
looks. Later I married the son of the lawyer who defended me.
(pause) Kit went to sleep in the courtroom while his confession
was being read, and he was sentenced to die in the electric
chair. On a warm spring night, six months later, after donating
his body to science, he did. 

With Holly's last words we CUT INSIDE the cabin of the plane. 

INT. CABIN

Kit sits next to the Trooper at the back of the plane. Holly sits
opposite them, with a Detective behind her. Kit's attention is
fixed on the military hat in the Trooper's lap. 

KIT
Sir... Where'd you get that hat?

TROOPER
State.

KIT
Boy, I'd like to buy me one of those.

The Trooper smiles. Holly looks up. 

TROOPER
You're quite an individual, Kit.

KIT
Think they'll take that into consideration?

The Trooper smiles and looks out the window. Kit looks to Holly,
to see if she has taken this remark in the proper spirit. She
smiles and looks out the window. 

EXT. CLOUDS - HOLLY'S POV - DUSK

An unbroken sea of clouds stretches out before her. 

FADE OUT.

END CREDITS OVER BLACK.

THE END

memento

 INT. NATALIE'S BEDROOM - NIGHT

Natalie, eyes closed, has her head on Leonard's chest. He is
   shirtless, lying on top of the covers.

				LEONARD
		I don't even know how long she's been			  *
		gone. It's like I've woken up in bed and
		she's not here because she's gone to the
		bathroom or something. But somehow I just		   *
		know that she'll never come back to bed.		    *
		I lie here, not knowing how long I've
		been alone. If I could just reach out and		   *
		touch her side of the bed I could know			 *
		that it was cold, but I can't. I have no		    *
		idea when she left.							*

Natalie's eyes are open.

				LEONARD (cont'd)
		I know I can't have her back, but I want		    *
		to be able to let her go. I don't want to
		wake up every morning thinking she's
		still here then realizing that she's not.
		I want time to pass, but it won't. How			 *
		can I heal if I can't feel time?

Leonard bends his head around to see if Natalie is awake. She
closes her eyes. Leonard gingerly slides from underneath her
and moves silently out of the bedroom.

raising arizona

HIGH SHOT

	Looking straight down at Hi, asleep in the trailer bedroom.
	We start to crane down.

				VOICE OVER
		That night I had a dream...

	EXTREME WIDE SHOT

	A beautiful dusk landscape. We are floating in over the field,
	abutting the prison, that Gale and Evelle popped out of.

	In the middle background of the extreme long shot two men
	are walking across the field.

				VOICE OVER
		...I dreamt I was as light as the
		ether, a floating spirit visiting
		things to come...

	BACK TO HIGH SHOT BEDROOM

	Craning down toward Hi.

				VOICE OVER
		The shades and shadows of the people
		in my life wrastled their way into
		my slumber.

	BACK TO FIELD

	Still floating forward but now much closer to the two walking
	men. We see that they are Gale and Evelle. Both are still
	dyed blue.

	They are approaching the hole in the ground.

				VOICE OVER
		I dreamt that Gale and Evelle had
		decided to return to prison...

	Evelle is starting to climb into the hole.

				VOICE OVER
		...Probably that's just as well. I
		don't mean to sound superior, and
		they're a swell couple guys, but...

	Evelle has disappeared and Gale starts climbing in.

				VOICE OVER
		...maybe they weren't ready yet to
		come out into the world.

	FLOATING UP THE WALK OF THE ARIZONA HONE

	The front door has a holly wreath on it.

				VOICE OVER
		And then I dreamed on, into the
		future, to a Christmas morn in the
		Arizona home...

						 DISSOLVE THROUGH TO

	ARIZONA LIVING ROOM

	Five three-year-olds in their pajamas are opening presents
	around a tree as Nathan and Florence look on.

				VOICE OVER
		...where Nathan Jr. was opening a
		present from a kindly couple who
		preferred to remain unknown.

	We have been isolating in on one of the children peeling the
	wrappings off a package marked to Nathan Jr. Inside is a
	shiny red plastic football.

	FLOATING IN TOWARD A STATION WAGON

	Pulled over on the state highway in the middle of the desert,
	a police motorcycle parked behind it. Glen is leaning out
	the driver's window of the car talking to the state trooper
	who stands facing him.

				VOICE OVER
		I saw Glen, a few years later, still
		havin' no luck gettin' the cops to
		listen to his wild tales about me'n
		Ed...

	Glen is grinning and talking with his hands cupped in front
	of him, as when he told Hi about the Pollack who almost
	stepped in the pile of shit.

	The trooper, in crash helmet and dark sunglasses, is listening
	tight-lipped and stone-faced as Glen finishes his story and
	slaps his knee.

				VOICE OVER
		...Maybe he threw in one Pollack
		joke too many...

	The trooper is clicking open his ballpoint pen and reaching
	his citation book from his breast pocket. The name tag on
	the pocket says "SGT. KOWALSKI."

				VOICE OVER
		...I don't know.

	FLOATING IN TOWARD A FOOTBALL

	It sits on a tee in the middle of a football field.

				VOICE OVER
		And still I dreamed on...

	A cleated foot boots the football out of frame.

				VOICE OVER
		...further into the future than I'd
		ever dreamed before.

	HIGH SCHOOL FOOTBALL PLAYER

	Looking up, arms out at his sides, waiting to receive the
	kicked ball.

				VOICE OVER
		...Watching Nathan Jr.'s progress
		from afar...

	He catches the ball and starts running.

				VOICE OVER
		...Taking pride in his accomplishments
		as if he were our own...

	He is skillfully eluding and stiff-arming tacklers.

				VOICE OVER
		...Wondering if he ever thought of
		us.

	He reaches the end zone and triumphantly spikes the football.

	He whips off his helmet and we track in on the face of the
	rosy-cheeked high-school bruiser.

				VOICE OVER
		...and hoping that maybe we'd
		broadened his horizons a little,
		even if he couldn't remember just
		how they'd got broadened.

	BACK TO BEDROOM

	Still craning down, now very close to the sleeping Hi.

				VOICE OVER
		But still I hadn't dreamt nothin'
		about me'n Ed. Until the end...

						 DISSOLVE THROUGH TO

	A COUPLE

	The man and woman are sitting on a sofa in the foreground
	with their backs to the camera. They are in the living room
	of Hi and Ed's trailer, which is suffused with a warm golden
	light.

	As they face the trailer's front door, all we see of the
	couple is the backs of their heads. They both have white
	hair, the woman's pulled into a bun. The old man wears a
	cardigan, the woman a shawl.

				VOICE OVER
		...And this was cloudier 'cause it
		was years, years away.

	The front door bursts open. Two young couples are entering
	as their kids - about a dozen of them - stream in around
	them.

	The old couple on the couch raise their arms to embrace their
	visitors. The children boil onto the couch.

				VOICE OVER
		...But I saw an old couple bein'
		visited by their children - and all
		their grandchildren too. And the old
		couple wasn't screwed up, and neither
		were their kids or their grandkids.
		And I don't know, you tell me. This
		whole dream, was it wishful thinking?
		Was I just fleein' reality, like I
		know I'm liable to do?

	FLOATING IN TOWARD A LONG DINING TABLE

	In the trailer. The table is all laid out with a Thanksgiving
	dinner, a huge turkey sitting at the far end.

	Cut-out letters at the other end of the room say: "WELCOME
	HOME KIDS!"

	The grandchildren are running into frame and taking their
	seats at the table, accompanied by their parents.

				VOICE OVER
		...But me'n Ed, we can be good too...

	The elderly couple enter from either side of the camera and
	stand in the foreground, backs to us, facing the table.

				VOICE OVER
		...And it seemed real. It seemed
		like us. And it seemed like well...
		our home... If not Arizona, then a
		land, not too far away, where all
		parents are strong and wise and
		capable, and all children are happy
		and beloved... I dunno, maybe it was
		Utah.

	The elderly man drapes an arm around his wife's shoulder and
	draws her close. She rests her head against his shoulder,
	and we:

								FADE OUT

	THE END

before sunrise

Jesse: I mean, there’s these breeds of monkeys, right, and all they do is have sex,like, all the time, you know. And, uh, they turn out to be, like, the least violent, the most peaceful, the most happy, you know, so I mean, maybe fooling around is not so bad.

Céline: Are you talking about monkeys?

Jesse: Yes. I’m talking about monkeys.

Céline: Ah, I thought so, yeah.

Jesse: Why?

Céline: You know, I never heard this one, but it reminds me of, like, this perfect, you know, male argument to justify them fooling around.

Jesse: No, no, no. Woman monkeys are fooling around, too. Everybody’s fooling around.

Céline: Yeah, that’s cute. (they laugh) You know, I have this awful paranoid thought, that feminism was mostly invented by men, so they could, like, fool around a little more. You know, women, free your minds, free your bodies, sleep with me. We’re all happy and free as long as I can fuck as much as I want.

Jesse: Alright, alright, alright. But maybe, maybe there’s some biological things at work here. I mean, if you had an island, right, and there were 99 women on the island, and only one man, in a year, you’d have the possibility of 99 babies. But if you have an island with 99 men, and only one woman, in a year, you’d have the possibility of only one baby. So…

Céline: So. You know what?

Jesse: What?

Céline: On this island, you know, I think that there will only be, like, maybe 43 men left. Because they would kill each other, trying to fuck this poor woman, you know what I mean? And on the other island, there would be 99 women, 99 babies, and no more man, because they would have all gotten together, and eaten him alive.

Jesse: Oh yeah?

Céline: Yeah.

Jesse: Yeah? Yeah? See… see, I think there’s something to that. I think on some level, women don’t mind the idea of destroying a man, you know. Like, I was once walking down the street with my ex-girlfriend, you know, right, and we just walked by these, like, real four, kind of thuggy looking guys, next to a Camaro, you know, and one of them, sure enough, says, ‘Hey baby, nice ass.’ You know, I mean. So, I’m like, alright, Hey, no big deal, I’m not gonna get uptight about this, right?

Céline: Yeah, plus, there were four of them, right?

Jesse: Yeah, exactly, there’s four of them, right, but she turns around and she says (Jesse turns back, and flips the bird to the air behind him) Fuck you, dickheads, and I’m like, Okay, wait a minute, here, right. They’re not gonna come over here and kick her ass, you know what I mean. So who just got pushed to the front line on that one? You see what I’m saying? I mean, women say they hate it if your all territorial and protective, but if it suits them, then they’ll tell you you’re being all unmanly, or wimpy, or, uh.

Céline: You know what? I don’t think women really want to destroy men, and if, even if they want to, they don’t.. they don’t succeed. You know what I mean? I’m sure even, you know, men are destroying women, or are able… capable of destroying women, much more than women… Well, anyway, it’s depressing, I mean you know what?

Jesse: What? You want to stop talking about this?

Céline: Yeah. I really hate it. You know Men-Women you know, it’s, it’s… there’s no end to this, like, you know…

Jesse: It’s like a skipping record, you know.

Céline: Yeah.

Jesse: Every couple’s been having this conversation forever.

Céline: Any nobody’s come up with anything.

Days of heaven

157	INT. MASTER BEDROOM

Chuck looks impatiently through a drawer.

CHUCK
I can't find anything around here. Last week it was my gloves; this
week my talc. What's going on?

He stands and watches Abby get ready for bed. She fills him with a deep adoration.
He feels that in the tulip of her mouth at last he has found heaven.

CHUCK
You're beautiful.

ABBY
You don't think my skin's too fair?
He comes up behind her and touches her long hair.

CHUCK
You're smart, too, aren't you?

ABBY
I know what the Magna Carta is.

CHUCK
Can I help you brush it out?

ABBY
Not right now.
She is cold to discourage false expectations in him--and because she feels that she at least owes Bill this. Chuck, however, assumes the fault must be his own. His naivete about women, and the world in general, protects
the conspirators--and protects him, too, for he glimpses enough of the truth not to want to know any more.

CHUCK
What makes you so distant with me?

ABBY
Distant? I don't mean to be.

CHUCK
You know what I'm talking about,  though. You aren't that way
with your brother.

158	INT.ATTIC

Bill, eavesdropping in the attic above them, surveys Chuck's dusty heirlooms.

CHUCK (o.s.)
It must be something I'm doing. I wish you'd tell me what, though.

159	INT. BEDROOM

These gentle endearments, so rarely heard from Bill, stir her deeply.
She throws herself in his arms.

ABBY
Oh, Chuck I Please forgive me. Does it mean anything that I'm
sorry?

CHUCK
(pleased)
But I don't blame you. Did I make it sound that way?

ABBY
You should. You have a right to.

CHUCK
It's just that sometimes I feel I don't know you well.

ABBY
You don't. It's true.

CHUCK
I think you love me better than before, though.

She rubs her cheek against his hands. Daily she feels warmer toward him.
How much of this is love, how much respect or devotion, even she cannot say.

160	TIGHT ON BILL - LATER - NIGHT

The night throbs with crickets. Bill cracks open the bedroom door. Chuck lies asleep in a shaft of moonlight next to Abby. He hesitates a moment, but a strange compulsion drives him on. He has never done anything
so dangerous, or had so little idea why.

161	INT. BEDROOM - NIGHT

Abby wakes up to find him staring her in the face. He kisses her. Chuck stirs. Abby signals they should go outside.

162	EXT. BELVEDERE - DAY FOR NIGHT

They sneak out of the Belvedere. The night is warm.

ABBY
You're no good.

BILL
Mmmm. But I love you.

ABBY
I can't stand it any more. This is just so cruel. We're both no
good. I've got to get drunk with you, Bill. You know what I mean?
Drunk.

Bill wags a bottle. The dogs, awakened, bay from the kennel. They wait a moment to see if a light will go on in the house, then dart off toward the fields. A plaster lawn dwarf seems to watch them go.

163	EXT. FIELDS - DAY FOR NIGHT

They run through the fields, hand in hand, laughing and flirting. The moon makes Abby's nightgown a ghostly white.

ABBY
We can never do this again, though. Okay? It really is too dangerous.

BILL
This one night.
He toes a sodden old shoe.

BILL
Hey, I found a shoe.

164	SHOE, COYOTES, SCARECROW - DAY FOR NIGHT

The shoe gleams in the moonlight. Coyotes yelp from the hilltops.
A scarecrow spreads its arms against the sky.
The waving fields of wheat have given way to vast reaches of cleanly shaven stubble,
stained with purple morning glories. Odd, large stakes are planted among them.

165	NEW ANGLE - DAY FOR NIGHT

BILL
You want me to spin you around?

She nods okay. He takes her by the hands and spins her around the way he used to
--until they go reeling off, too dizzy to stand.

Bonus track - the abyss


He makes a decision.  Starts pulling off his backpack.

                                BUD
                Alright, put this on.

                                LINDSEY
                What, you growing gills all of a sudden?  You
                got it on, keep it on.

                                BUD
                Don't argue, goddamnit, just--

                                LINDSEY
                No way!  Forget it.  Not an option.

Bud has his pack off uncoupling it.  She keeps fighting his hands, stopping
him, hooking it back up.  The desperation of the situation fuel the struggle.

                                BUD
                Lindsey, just put the thing on and shut up--

                                LINDSEY
                NO!!  Now be logical, Bud, you're--

                                BUD
                FUCK LOGIC!!

They're both right up against the ceiling, water up to their chests.
Lindsey's lips are blue and trembling from the cold.

                                LINDSEY
                Listen... will you listen to me for a second!?
                You're for the suit on and you're a better
                swimmer than me.  Right?  So I got a plan...

                                BUD
                What's the plan?

                                LINDSEY
                I drown, you tow me back to the rig--

                                BUD
                WHAT KIND OF PLAN IS THAT!??

Lindsey's gut-scared... shaking violently, her eyes wide.  But she's keeping
it together.  Thinking it out.  Bud see the bottomless pit opening to take her
and he can barely think.

                                LINDSEY
                Look, this water is only a couple degrees above
                freezing.  I drown.  I go into deep hypothermia...
                my blood like icewater.  I can maybe be revived
                after ten, fifteen minutes.  You got all the
                stuff to do it on the rig.

Bud stops moving and looks into her face, inches from him.  The water is up
to their necks.  He knows that, as always, infuriatingly, Lindsey is right.

                                BUD
                It is insane.

                                LINDSEY
                It's the only way, Bud.  Now trust me.

She takes a deep breath.  Before her nerve fails she busies her hands on his
suit, rehooking everything.

                                BUD
                Jesus, I don't believe this is happening.

She raise his helmet.  Water up to their chins.  They lock eyes, inches
apart.  He can feel her breath on his face... maybe for the last time.

                                BUD
                Oh God, Lins... I--

                                LINDSEY
                Tell me later.

He grabs her head in both hands and pulls her mouth to his.  They lock
together in a fierce kiss, fueled by passion and terror... the naked
realization of love hanging over the abyss of death.

She breaks away at the last possible second and quickly pulls his helmet
over his head.  Seats is down over the neck ring.  Lock the bail-out handle,
sealing it.  Even with her head press up into the highest point of the
ceiling, Lindsey's mouth is barely above water.  She give a scared little
laugh.

                                LINDSEY
                This is maybe not such a great plan, is it?

She is half-paralyzed with the cold, shaking pathetically.  Puts her face to
the glass of his helmet.  Seconds to go.

                                LINDSEY
                Hold me.  Hold me, Bud... I'm so scared...

He can't hear her, but he read her lips.  They clutch each other desperately.
The embrace last while the water rises over her mouth and nose.  She starts
to choke.  Her hands grip his shoulders like claws.  She bucks and thrashes.
Bud holds her, and a scream tears loose from him, a pure agony of the soul.

                                BUD
                NOOOOO!!!

The freezing seawater races into her lungs.  Her finger go slack, and her
hands float lifelessly.

Bud stares, transfixed, as the last tiny bubble trickles out of Lindsey's open
mouth.  He kicks himself into gear, fingers frenzied as he spins the wheel of
the lockout hatch.

                                                                CUT TO:

INT. DEEPCORE/COMMAND MODULE                                            191

TIGHT ON VIDEO SCREEN, one of the outside cameras.  A ghostly figure swims out
of the darkness, towing something.

                                ONE NIGHT
                It's Bud.  Oh my God... that's Lindsey!

                                BUD (V.O./faint)
                Deepcore, Deepcore, do you read?

                                HIPPY
                Read you, Bud.  We're here.

EXT. DEEPCORE                                                           192

Bud swims with long, powerful kicks, towing Lindsey.  Her arms and legs float
as gracefully as seaweed waving in a gentle current.  Bud's voice comes in
short rasps, breathing hard, but icy with control.

                                BUD
                Go to the infirmary... get the cart .. oxygen...
                de-fib kit... adrenaline in a... ten cc
                syringe... and some... heating blankets.
                You got all that?

                                HIPPY (V.O.)
                Got it. Over.

                                BUD
                Meet me in the moonpool.  Move fast.

INT. INFIRMARY                                                          193

The door crashes open and Jammer thunders in.  He picks up the CPR cart, meant
to roll on wheels, and carries it out past Hippy, Catfish, and One Night, who
are crowding in to get the rest of the equipment.  They ransack the place in
about ten seconds, grabbing everything they might need and half of everything
else.

EXT. DEEPCORE/UNDER THE MOONPOOL                                        194

Bud moves up toward the rectangle of light, towing Lindsey to the diving
platform.  Through the surface we can see the others arrive at the edge,
looking down.

INT. SUB-BAY                                                            195

Hippy and Catfish are setting up the cart and the oxygen kit, dropping things,
making mistakes.  One Night is teaching herself how to fill a syringe from a
bottle of adrenaline.

                                SONNY
                Here he comes!

Jammer and Sonny leap into the freezing water, waist deep on the submerged
diving platform.  Bud bursts to the surface.  Together they haul Lindsey
across the platform, out of the water, and onto the deck.  Her skin is blue-
white, her chest still.

Bud rips his helmet off in a near-frenzy, like a man possessed, a man with a
mission.  The others are galvanized by his energy even though they all see
Lindsey as dead, a corpse... cold and inert.  Water flows from her mouth and
nose and her lips are blue, her limbs completely limp.  Hippy peels back one
eyelid, to find the pupil fixed and dilated.

But when Bud shouts for them to move, they move.

                                BUD
                Turn her over!

They flip his wife's body over.  He straddles her, pushing down with both
hands in the middle of her back.  Seawater gushes from her slack lips.  He
does it again until the flow stops, then flips her onto her back.

                                BUD
                Come on, hurry!  Gimme the de-fib...

One Night and Catfish are fumbling with the emergency cart equipment.  They've
all been trained in CPR and use of the gear but that was years ago, and is a
friend they're working on.  They're all thumbs.  Catfish drops the electrodes,
picks them up quickly, hands them to Bud...

                                CATFISH
                Here, here, here... no, you got to have bare
                skin, or it won't...

Bud rips into her clothing, opening her jumpsuit, literally tearing away her
T-shirt, revealing her bare chest... bony and still.

                                BUD
                Jesus.  Gimme those, come on.  Catfish, move it,
                man!  Come on... come on!

He slaps the things into Lindsey's bare skin, one on the sternum and one on
the side of the rib cage.

                                BUD
                Is that it?  Is this right?

                                HIPPY
                Yeah!  I mean, I don't know... it looks right.

                                BUD
                All right.  Do it!

One Night hits the switch and Lindsey's body convulses.  It is a pure muscle
reflex, and when it is over, there is not a hint of life.  Hippy pushes him
back and puts a black rubber oxygen mask over her mouth.  He opens the valve
on the cylinder and starts pumping the squeeze bag.  They start packing
electronic blankets around her to fight the intense hypothermia

                                BUD
                Do it again, One Night.  Zap her again!

The current hits Lindsey again and her back arches.  Bud doesn't wait for a
result... he's in his own reality now, driven.  He's doing it all at once,
somehow, in a senseless frenzy... pumping on her chest with his hands,
squeezing the oxygen bag, placing the electrodes.

                                BUD
                Aw.  Christ... come on, baby.  Again!  Do it
                again!

Lindsey's back arches.  Her body relaxes, inert.

                                BUD
                Come on, One Night... what are you waiting for?

A hush seems to have fallen over the group.  They know instinctively that it's
over.  But Bud can't accept it.  He looks at them, beseechingly, like they
are somehow intentionally holding out on him.  One Night starts to cry,
quietly.

                                CATFISH
                                (gently)
                Bud, it's over, man.  It's over.

There is a beat of silence.  Bud stares down into Lindsey's half-open,
motionless eyes.

TIGHT ON LINDSEY'S EYES, moving in until the pupil FILLS FRAME, a black void.

REVERSE, HER POV.  SILENCE.  A distant, distorted image, we see Bud, One
Night, Jammer, Hippy, Catfish, staring down.  It is like the circular top of
a dark well, their faces shimmering as if through the surface of water.  It is
as if we are in a well, descending, looking up at a circle of faces growing
smaller as we drop away... smaller and smaller, receding until it becomes
a point of light in the void, like the fading bright dot at the center of a
turned-off TV.

TIGHT ON BUD, rigid, staring.  Catfish puts his hand gently on Bud's shoulder.
Suddenly Bud tears Catfish's hand away and sets upon Lindsey like a madman,
renewing his efforts in spades... totally manic.

                                BUD
                No!  NO!  She's not... her heart is strong,
                she wants to live... can't you see that?  Come
                on, Lins.  Come on, baby!  Zap her again!  Do
                it... DO IT!

They do.  And Bud works, feverishly.  He lock his lips over hers and starts
mouth-to-mouth.  It is frantic, passionate... the kiss of life.

                                BUD
                Come on, breath!  Goddamn it, you bitch, you
                never backed down from anything in life... now
                fight!

He slaps her face, hard.  Her head lolls.  He smacks her the other way.

                                BUD
                Fight, Goddamnit!

LINDSEY's POV, from the bottom of the great well.  The circles of faces and
light rockets toward us in the blackness, as we soar upward from the pit.  We
see Bud yelling, but his voice is distant, windlike.

                                BUD
                FIGHT!!

TIGHT ON LINDSEY, still.  Then something incredible happens.  Something they
will never forget as long as they live.  Lindsey coughs once, weakly, and her
hands clench in a spasm.

Bud see it and his expression becomes beatific.

                                BUD
                Come on, Lins.  You can do it... fight your
                way back, baby...

The others look on in wonder as Bud wills this woman back.

She starts to cough, weakly at first... then more violently as she draws air
into her lungs.  Bud crouches over her, rubbing her limbs... trying to re-
establish circulation.  It is like a difficult birth.  Lindsey comes hacking
and howling back into the world, wet and naked and fighting for breath.

Bud puts the oxygen mask over her face and she draws breath after agonized
breath.  He pushes her wet hair back from her face with his trembling hands,
and watches her breathe.  Color is returning to her skin as she lies there,
gasping weakly.

ONE THE GROUP... Catfish, Hippy, One Night, Jammer, the others... they're
all grinning, crying, beaming... gazing at the miracle of her rebirth.

ON BUD... tears are streaming down his face.

                                BUD
                   (a whisper, fierce and harsh)
                You did it, ace.